Monday, April 21, 2014

Peter AblingerQuadraturen IIIf: A Letter from Schönberg, 1996

Reading piece with computer-controlled player piano after a letter written by Schönberg to a US record company A&R manager, presumably after 1949. On the Quadraturen series, see here.


Friday, April 18, 2014

The Guardian.comThe 101 Strangest Records on Spotify, 2012–2014

Started in July 2012, this ongoing series by British music reviewer Rob Fitzpatrick just reached #70 last April 2, 2014. Despite its enticing title, the selection embarks some pretty ordinary music – namely, under-the-radar krautrock, funk, hip hop or prog rock releases–, but occasionally points out to more adventurous recordings by the likes of Ákos Rózmann, Joe McPhee, The Shadow Ring or John Appleton. Granted, subscription is compulsory to access these musics and the entire project looks like mere lip service to an iTunes competitor, but it is still nice to see the common layman exposed to uneasy music.

Thursday, April 17, 2014

Bill FontanaDesert Surroundings, 2014

Pictures from the catalogue published on the occasion of Bill Fontana’s participation to the Abu Dhabi Festival in Qatar and his specially commissioned sound installation Desert Surroundings exhibited at the Emirates Palace, Abu Dhabi, March 21 to April 20, 2014. The installation is based on recordings from the Sheikh Zayed Bridge and singing sand dunes from the Abu Dhabi desert. [for more info, see the Gulf News

High resolution, bilingual English/Arabic catalogue available as a free PDF here.

[Thanks Goran for the link]

Wednesday, April 16, 2014

Ensemble Opus Posth,, Russian Federation, 2000.
Vladimir Martynov in Romania, 1977 [source]

Vladimir MartynovA-A-A O-O-O Eh-Eh-Eh EE-EE-EE OO-OO-OO,
from the Night in Galicia CD, published by CCn’C Records, Germany, 2000
Interpreted by
Ensemble Opus Posth.
Based on lyrics by
Velimir Khlebnikov.

Tuesday, April 15, 2014

Michael CloughFor Alvin Lucier (1969), zine, published by miniMA, UK, April 2014

A graphic emulation of the cumulative effect of Alvin Lucier’s I Am Sitting in a Room by British musician, photographer and zine publisher Michael Clough. Another visual interpretation of the same piece was Mary Lucier’s own photo series I posted a while back.


Monday, April 14, 2014

Hand-drawn poster for a 2-days GRM festival titled 30 heures avec le Groupe de Recherches Musicales de l’ORTF (or, 30 hours with the ORTF’s GRM) – as part of the Journées de Musique Contemporaine festival in Paris, 20–28 October 1969. The Journées… was an important contemporary music festival held from 1968 to 1972 and directed by Maurice Fleuret. The GRM concerts took place at Maison de l’ORTF, the French national radio. The program offered several world premieres and the inclusion of composers not generally associated with the GRM like Jacob Druckman, Karlheinz Stockhausen, Martin Davorin-Jagodić or Heinz Holliger.

[Full program here]

Detailed program:

23 octobre 1969

  • 14h00 – Oeuvres electroacoustiques
    ”des studios de Paris, Cologne, Milan, Munich, New York. Tokyo, Utrecht Varsovie, et Computer Music“
  • 18h30 – Oeuvres mixtes
    (K. Stockhausen: Solo ; I. Malec: Lumina
    J. Druckman: Animus III ; G. Reibel: Carnaval)
  • 20h30 – Oeuvres pour bande
    (A. Paccagnini: Partner ; G. Reibel: Vertiges ; L. Ferrari: Music Promenade ; B. Parmegiani: Thalassa)
  • 23h30 – Nuit Blanche – Musiques en action
    (B. Parmegiani: Jazzex ; A. Savouret: Kiosque ; E. Canton: Mangés par une espèce de serpent ; Jagodic: Action pour un pianiste ; Chemirani: Improvisations au zarb ; E. Pagaya: Facettes, ballet music by P. Schaeffer ; Groupe d’Expression directe de ChâteauvalIon ; Bel Canto Choir de Stockholm: Moving Music)

24 octobre 1969

  • 10h30 – Films
    Films de Borowczyk. Brissot, Fores, Jeannessort Kamler, Lepeuve, Petit, Lapoujade, Rouxel. avec des musiques de Bayle, Cohen-Solal. Ferrari, Henry, Malec, Parmegiani, Philippot. Schaeffer)
  • 16h30 – Pierre Schaeffer, conference: “De l’expérience musicale à l’expérience humaine”
  • 18h30 – Musiques éclatées
    Directed by François Bayle with Rufus and the Bel Canto Choir of Stockholm.
  • 20h30 – Concert collectif
    (François-Bernard Mâche: Synergies ; Philippe Carson: Collages ; François Bayle: Pluriel ; Luc Ferrari: Composé Composite ; Ivo Malec: Sigma ; Heinz Holliger: Siebengesang)

Pictures from the Revue Musicale, special issue on Recherche Musicale au GRM, Paris, 1986

Sunday, April 13, 2014

Jean-Claude Eloy – hand-drawn music on the UPIC system at Iannis Xenakis’ CEMAMu electronic studio, Paris, 1978–83.

From: Electra: L’électricité et l’électronique dans l’art du XXe siècle, exhibition catalogue, Paris, 1983

Friday, April 11, 2014

Sticking It To You

Some CD reviews by Collin J. Rae on colored sticky notes.
I love the way these hand-written, first person write-up remarks look like personal recommendations.

Thursday, April 10, 2014

Steve Roden - Translations & articulations, catalogue+CD, limited to 966 copies, Griffin Contemporary Exhibitions, Venice, CA, 1997

Steve Roden - Translations & articulations, catalogue+CD, limited to 966 copies, Griffin Contemporary Exhibitions, Venice, CA, 1997

See hi-resolution PDF file here

Wednesday, April 9, 2014

Continuumix #15  |  April 2014  |  61:07
Picture from Peter Brook’s film Meeting With Remarkable Men, 1979

  • (00:00) Pierre Bernard - Kanake (excerpts)
    Pierre Bernard: synthesizer ; David Rueff: saxophone.
    From the Arche CD, published by Adda, France, 1991. Bernard was both a member of Pierre Schaeffer’s GRM and Xenakis’ CEMAMu.
  • (00:00) George Todd - Voicemask (excerpts), from the Barry Schrader/George Todd split LP published by CRI, USA, 1983. Vocal interjections produced on the Synclavier II.
  • (04:26) Micheline Coulombe Saint Marcoux (1938–1985) - Séquences (excerpt), 1968, for Ondes Martenot and percussion. Johanne Goyette & Marie Bernard: Ondes Martenot ; Serge Gratton: percussion.
    From the Anthology of Canadian Music 5xLP boxset, published by Radio Canada International, 1984. Saint-Marcoux bio here.
  • (05:41) Claire Bergerault & Jean-Luc Guionnet - Mune 2 (excerpt), from the Mune CD published by Cathnor Recordings, UK, 2012. Claire Bergerault: voice ; Jean-Luc Guionnet: church organ.
  • (07:00) Micheline Coulombe Saint Marcoux, slight return, ibid.
  • (08:37) D. Hansen - Speak In A Low Voice Which Is Difficult To Hear, from the cassette published by Where To Now?, UK, 2014 (source: SoundCloud). D. Hansen is also known as Lotide.
  • (11:14) Jacqueline Nova Sondag (1935–1975) - Creacion de la Tierra (excerpt), 1972. Voice-based, electroacoustic music recorded  by Columbian composer Jacqueline Nova at Laboratorio de Acústica y Electroacústica, Faculty of Architecture, University of Buenos Aires (source: SoundCloud).
  • (18:04) Monochrome Bleu - This Is Not/Ballerinas Of Manaus, from the Taucher LP published by Extraplatte, Germany, 1987. Legendary Austrian post-punk band composed of Peter Androsch (guitar), Wolfgang Dorninger (electronics, vocals), Walter Horn (bass), and Thomas Resch (saxophone).
  • (21:49) Peter Schat - Thema, opus 21, for solo oboe, guitar, organ and winds, 1970. From Peter Schat’s Complete Works 12-CD boxset, Nm Classics, The Netherlands, 2012.
  • (28:00) Monochrome Bleu, slight return, ibid.
  • (32:25) Cachette à Branlette - Sanctuaire, an early synth demo by young French musician from Bordeaux. Net release on Los Emes Del Oso, France, 2013. Full album here.
  • (33:40) Günter Maas - Molom-Takis-Kawak-Ses (excerpts), for children voices and electronics, 1967. From the self-released Klangbilder LP, Cologne, 1968.
  • (35:00) Birgitte Alsted - Agnete’s Laughter (excerpts), 2007, from the CD of the same title published by Da Capo, Denmark, 2012. Danish electroacoustic music composer Alsted (born 1942) sounds remarkably lively and playful in this composition for her own voice, environmental sounds and electronics. The excerpts used feature heavily treated vocalizations from Alsted.
  • (39:00) Kammerflimmer Kollectief - Teufelskamin Jam #1 (excerpt), from the Teufelskamin LP on Staubgold, 2011. Electronica/free jazz band from Karlsruhe, Germany. Devastating guitar solo by Thomas Weber.
  • (43:49) Lutto Lento - Unlucky (various excerpts from different tracks), cassette, 2013. Dynamic tape manipulations and collages from Polish electronic musician Lutto Lento.
  • (49:18) Boris Gagloev - The Exclamations From… (excerpt), recorded 1995. Gorgeous classical guitar composition by late Russian musician Boris Gagloev (1969–2008). From a full solo guitar album available on
  • (51:20) Catherine Brisset - Nébuleuse (excerpt), for pre-recorded electronic sounds and Cristal Baschet, composed by Thierry Alla.
    From the Skylamp CD published by Drone Sweet Drone Records, France, 2012 – stream on BandCamp. Atmospheric track by French leading Cristalliste, or Cristal Baschet player.
  • (56:20) The Shadow Ring - I Am Some Songs, 2003. From LP of the same name, Swill Radio, 2005. Electronic drone and radical voice treatment by British trio of Graham Lambkin, Tim Goss and Darren Harris.
  • (58:25) Philip Miller - Metronome, from The Refusal of Time CD, self-released as PMCD102, South Africa, 2013. Music composed for William Kentridge’s The Refusal of Time, a 5-channel video installation at Documenta (13), Kassel, Germany, 2012.
Tuesday, April 8, 2014

Pandit Pran Nath (1918–1996) – Raga Malkauns, recorded by Tom Duffy at Big Apple Recording Studios, Ltd., NYC, August 21, 1976

Pandit Pran Nath, voice
K. Paramjyoti, tabla
La Monte Young, tambura
Marian Zazeela, tambura
Bob Bielecki, sound engineer

Stellar performance from the Midnight 2xCD set published by the Mela Foundation via its Just Dreams imprint in 2002.

Monday, April 7, 2014

Arturas BumšteinasEpiloghi, CD, Unsounds, 2014

In Epiloghi, Lithuanian composer Arturas Bumšteinas explores relations between, on the one hand, theater noise-machines used in Baroque opera to create wind, storm and dramatic effects on stage, with, on the other hand, Futurists noise-machines, or Intonarumori.

The album starts with non-descript, hard to identify noises and gradually adds sparse piano and harpsichord notes played by Christine Kessler. The harpsichord’s leading role on some tracks and Kessler’s soprano voice on track #4 are an evocation of early music and Baroque vocal mannerisms. Theater noise-machines take center stage with track #5, not as illustrative theater events but as pure noise-producing machines – hence the homage to Luigi Russolo and track titles culled from his Art of Noises. The last, 22mn-long track is a musique concrète composition for theater noise-machines alone where precision and close-up recording recall some of Nicolas Bernier’s own works in the same field (like usure.paysage, CD, Hrönir, 2011 – listen). In the end, the juxtaposition of Baroque theater noise-machines and Intonarumori actually sheds new light on Russolo’s Art of Noises itself, which might be considered more as stage music without a play than experimental music per se.

My only complain with Epiloghi would be the sound production, which seems rather small scale and studio-like, whereas bigger sound stage proportions or a proper live recording would have benefited to the entire concept. Anyway, this disc is an ambitious and original project perfectly realized by an adventurous composer.

Friday, April 4, 2014

Tasseomancy Reality (2014), edited by Sari Lightman and Neil Cocoran.

Tasseomancy is the duo of Canadian twin sisters Romy and Sari Lightman – see this Guardian article. In their videos they often hint at Synesthesia color schemes and Eurythmie theory in their dance patterns. For this one they simply used footage from the 1970s reconstitution of Oskar Schlemmer’s Triadic Ballett